SOUND ON SOUND
Tom Doyle has written for Sound On Sound since 2004 and is also a regular contributor to MOJO.
As an author, he’s written a series of books, including Man On The Run: Paul McCartney In The 1970s (Polygon/Ballantine, 2013). As a musician, he’s one half of White Label, a writing/production duo whose credits include Paul Weller.
Twitter @Tom_Doyle_
Hampered by high expectations and an unhealthy obsession with vintage gear, Fleet Foxes’ second album took a year to make, in five different studios...
Arctic Monkeys’ fourth album, Suck It And See, is a dazzling return to form — and to producer, long‑time collaborator and ‘fifth Monkey’ James Ford.
The Foo Fighters could have gone to any studio on the planet to record their eagerly awaited album Wasting Light. They chose their frontman Dave Grohl’s garage...
Steve Brown had never produced a record or recorded live drums before he met singer-songwriter Rumer. Half a million album sales later, her faith in the partnership has paid off.
Silver Apples jammed with Jimi Hendrix, counted John Lennon as a fan, and produced extraordinary electronic music — with nothing but a drum kit and a pile of electrical junk.
In 1969, Faust used their massive record company advance to build a unique studio and a collection of weird, custom-made effects units. The same experimental spirit lives on in their new album, Faust Is Last.
Some of the latest advances in electronic music technology have been geared towards acoustic music — played by robots. For his latest album, guitarist Pat Metheny assembled an entire automated orchestra to back him.
Following their unlikely breakthrough into the mainstream, Flaming Lips made a conscious return to the outer limits with their recent album Embryonic. Dave Fridmann manned the controls.
Doves have overcome writers block, the perils of democracy and a silly studio name to produce an early contender for album of the year.